THE ART OF CREATIVE MOVEMENT A Collaborative and

THE ART OF CREATIVE MOVEMENT
A Collaborative and Interdisciplinary Education
Project
INNOVATION PROJECT / INITIAL TEACHER EDUCATION FOR CLIL:
CROSS CURRICULAR ACTIVITIES TO DEVELOP MULTIPLE INTELLIGENCES IN THE
PRIMARY CLASSROOM
Noemí Ávila, Mª José Camacho-Miñano Lola Pérez Murillo
THE CREATIVE MOVEMENT PROJECT
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To analyse the collaborative process in an educational
project.
To understand interdisciplinary learning and the specific aims
for each area of study
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Physical Education*
Art Education*
English Language learning*
Technology
History/Art History
To apply Creative Movement in the proposed topic based on
communication and representation.
OUR PROPOSAL FOR LEARNING INTERDISCIPLINARITY:
THE ART OF CREATIVE MOVEMENT
English
Create a short story
about what is
happening in the work
of art.
Famous painting
Arts & New
techonologies
Tableau Vivant Video
Physical Education
Making of Video
Body representation of the
painting, using creative
movement vocabulary.
SHARED MODEL
Three subjects are integrated through a common theme that is part
of the content of different subject areas
Create your own short story
about the picture

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Review the information about the picture provided
in your dossier.
Using the characters in the picture, you have to
create a short story about what is happening.
Represent your story in 2-3 minutes!
• You have to represent the characters and actions
of the story created.
• Use the VOCABULARY OF BODY EXPRESSION to
demonstrate the use of creative movement
(considering space, time, force and energy)
• Process:
•Literal pantomime-like movements.
•Exploration of movement possibilities.
(creative movement)
You can use music and materials.
Videos

VIDEO “TABLEAU VIVANT”
 Make
a video (no more than 2 minutes long), where all
the characters have to EXPRESS themselves through
different creative movements to represent and
communicate the meaning of the short story.

VIDEO “MAKING OF”
 Make
a video to show how the process of this
collaborative and interdisciplinary project has been
developed. You can use interviews, photos or ideas
about the experiences of the group while creating this
project.
EVALUATION CRITERIA

The Tableau Vivant video
The group use the concepts of creative movement in a
dynamic way (all the group together, different members
individually).
 There’s an exploration of movement possibilities (creative
movement) and less literal pantomime-like movement.
 Staging of the play (proper use of music, materials,
costumes,…).

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The “Making Of” video
Collaborative process
 Involvement throughout the project
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The Spinners, or The Fable of Arachne.
(Velázquez, 1655 – 1660)
This is a complex and highly intellectual representation of the classical myth of Arachne. According to the fable told by the Roman
author, Ovid (Metamorphoses, Book VI, I), Arachne was a young Lydian (Asia Minor) so skilled in the art of weaving that she challenged
Athena, goddess of Wisdom, to a contest of skills. During the competition, the latter realized that Arachne was superior to her. And when
Arachne made fun of her by weaving into her tapestry images of the conjugal infidelity of the goddess's father—Zeus, who transformed
into a bull in order to kidnap the nymph, Europe— she turned the talented weaver into a spider (…)
More information: https://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-fable-of-arachne-or-thetapestry-weavers/
GROUP “LAS HILANDERAS”
10 students
1director
1 camera man/woman
Vulcan's Forge.
(Velázquez, 1630)
Wearing a laurel crown and orange tunic, the god Apollo enters Vulcan's forge to warn him that his wife, Venus, goddess of beauty, is having an
adulterous affair with Mars, god of war.
Apollo, god of poetry and music and knower of the truth, represents the superiority of Art over Craft, which is embodied by Vulcan, the Roman god
of fire and protector of blacksmiths. This work was totally conceived by Velázquez and wasn't commissioned by anyone. It constitutes praise of
artists by raising painting to the level of poetry and music and distancing it from the work of craftsmen.
More information: https://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/vulcans-forge/
GROUP “LA FRAGUA”
6 students
1director
1 camera man/woman
Blind Man’s Buff
(Goya. 1788)
A circle of ten Majos and Majas play blind man's buff on the banks of what may be the Manzanares River. This work is the only sketch for the cartoon Goya painted for a series of playful and gay tapestries intended for the bedroom of the Infantas —the daughters of the future Carlos IV (1748‐1819) and María Luisa de Parma (1751‐1818)— at the El Pardo Palace of Madrid.
More information: https://www.museodelprado.es/en/the‐collection/online‐gallery/on‐line‐gallery/obra/blind‐mans‐buff/
GROUP “LA GALLINA CIEGA”
6 characters
1 director
1 camera man/woman
The Triumph of Bacchus/The Drunks
(Velázquez, 1628-1629)
Seated on a barrel, seminude and wearing grape leaves on his head, the god of wine crowns a young
soldier surrounded by a group of drinkers
More information: https://www.museodelprado.es/enciclopedia/enciclopedia-on-line/voz/triunfo-de-baco-o-los-borrachos-el-velazquez/
https://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-triumph-of-bacchus-or-the-drunkards/
GROUP “LOS BORRACHOS”
9 students
1director
1 camera man/woman
TEMPORALIZACIÓN
Sesión 1
Presentación del proyecto y fundamentos de interdisciplinariedad en EF
Sesión 2
Sesión “Movimiento creativo”
La profesora de Educación Física presenta los fundamentos teórico-prácticos del movimiento
creativo en una sesión específica.
Sesión sobre “CLIL en educación física”
La profesora de Formación para el Bilinguismo hizo una presentación de las posibilidades
de la metodología CLIL en la Educaicón Fïsica. Se trabajo posteriormente en el diseño del
guión y texto para la representación de cada uno de los grupos.
Sesión 3
Sesión 4
Trabajo en grupo.
Con el apoyo de la profesora de Educación Física los estudiantes trabajaron en la
representación a través del movimiento creativo de cada una de sus obras.
Sesión 5
Trabajo en grupo
Ídem.
Representación del “Tableu vivant”
Representaicón en tiempo real del “tableu vivant” para que pueda ser grabado y
posteriormente editado para el video final, apoyados por las profesoras de Educación
Fisica y Educación Artística.
Trabajo independiente de los grupos para la edición del video tableu vivant y el making-of
Sesión 6
Sesión 7
Visualización y puesta en común de los videos (tableu vivant y el making-off ) de los grupos
EJEMPLO DE VÍDEO: TABLEAU VIVANT
EJEMPLO DE VÍDEO: MAKING OF
EVALUACIÓN DE LA EXPERIENCIA:
PERSPECTIVA DEL ALUMNADO
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En la evaluación de la asignatura la mayoría de los
estudiantes han valorado el proyecto interdisciplinar como
uno de los tres aspectos que más les han gustado
En la autoevaluación y en sus diarios reflejan este
aprendizaje como muy significativo
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En relación al aprendizaje interdisciplinar
“It is one of the most important things I have learned and and I will take in it into
consideration for my future classes. The educational paradigm has changed an in my opinion
it’s our responsability to innovate and try to improve the teaching methods”
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En relación al proceso colaborativo
“It was a meaningful learning and a true collaborative work. I’m very happy with it and I
wish I can repeat this kind of projects soon”
EVALUACIÓN DE LA EXPERIENCIA:
PERSPECTIVA DEL ALUMNADO
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DIFICULTADES
 Poco
tiempo para preparar sus trabajos y para
encontrar espacios de trabajo común fuera de las
clases.
 Dificultades en la colaboración
 Dudas respecto a cómo representar la obra a través
del movimiento creativo.
EVALUACIÓN DE LA EXPERIENCIA:
PERSPECTIVA DEL PROFESORADO
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Experiencia muy positiva para nuestro desarrollo
profesional docente:
 Oportunidad
de aplicación real
 Conexión de nuestra área con otras áreas de
conocimiento
 Colaboración con profesorado de otros Dptos y áreas.
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Dificultades
 La
secuencia temporal de las asignaturas implicadas no
facilita que se integre la propuesta de forma real en
diferentes asignaturas del Grado.